Eminent film makers have used many of the unreciprocated phenomena’s of human life as a device to construct their quality narratives. Buddhaded Dasgupta’s use of dreams (rather than dreaming sequences) as a device to pull off his narratives need a special mention , for its holding power of the central premises and establishing lucid presentations, also making the distinction between manifestations and reality. An analysis of his placement of dreams to the central characters also gives us a picture of how effectively he uses it as a metaphor of emerging culture and human conditions as a whole. The present article is an exploration of how the diverse characters of Dasgupta’s films- ‘Mondo Meyer Upakhyan’ and ‘Kalpurush’ are loaded with pivotal dreams that force them to jump out of their existential problems, thereby acting as able narrative pullers. ( Sudheer S Salam, Lecturer, Dept. of Mass Communication and Journalism , University of kerala)
There are hundreds of studies on dreams and their purposes to mankind. While some researchers suggest that dreams serve no real purpose, many others believe that it is essential to dream for a proper mental, emotional and physical well being. Freud was fond of repeating that dreams provide a royal road to the unconscious activities of the mind. In his masterpiece, The Interpretation of Dreams, Freud makes consistent use of the metaphor of a journey. Sigmund Freud’s theory of dreams suggested that dreams were a representation of unconscious desires, thoughts and motivations. According to Freud’s psychoanalytic view of personality, people are driven by aggressive and sexual instincts that are repressed from conscious awareness. While these thoughts are not consciously expressed, they find their way into our awareness via dreams. (Freud,2000)
While this theory suggests that dreams are the result of internally generated signals, Hobson(1999) does not believe that dreams are meaningless. Instead, he suggests that dreaming is "…our most creative conscious state, one in which the chaotic, spontaneous recombination of cognitive elements produces novel configurations of information: new ideas. While many or even most of these ideas may be nonsensical, if even a few of its fanciful products are truly useful, our dream time will not have been wasted” Ernest Hoffman, director of the Sleep Disorders Center at Newton Wellesley Hospital in Boston, Mass., suggests that "...a possible (though certainly not proven) function of a dream is to be weaving new material into the memory system in a way that both reduces emotional arousal and is adaptive in helping us cope with further trauma or stressful events.(Hartman, 2006) Though the discourse over the actuality of dreams is yet to find proper resolve, they are made use of and interpreted in multitude of ways in various art forms propagated by humans. Filmmakers use dreams as essential helping points in their narration of their plot. Narrative is such a way of comprehending space, time, and causality. Since in film there are at least two important frames of reference for understanding space, time, and causality, narrative in film is the principle by which data is converted from the frame of the screen into a diegesis - a world - that frames a particular story, or sequence of action, in that world; equally, it is the principle by which data is converted from story onto screen (Branigan, 1992) Dreams often can be used to mislead the audience by making them believe that some events are actually taking place but in reality are only dreams. ...